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Annika Tõnuri Barbieri Rebane Estonian National Opera 1961 1989 2009
ANNIKA TÕNURI +••.••(...)) was an outstanding Estonian opera, operetta and musical artist. In 1989 she graduated from the Tallinn Conservatoire and made her stage debut at the Estonian National Opera. Her most memorable opera roles include Cherubino in "Le nozze di Figaro", Fiordiligi in "Così fan tutte", Pamina in "Die Zauberflöte" and Rosina in "Il barbieri di Siviglia". Annika Tõnuri was particularly appreciated in the prima donna roles in classical operettas such as Silva in "Die Czardasfürstin", Countess Zedlau in "Wiener blut", Odette in "Die Bajadere" and the title roles in "Gräfin Mariza" and "Viktoria und ihr Husar". She also played in musicals, e.g. as Tzeitel in "The Fiddler on the Roof", Master of Ceremonies in "Cabaret" and Baroness Elsa in "The Sound of Music". The last three years of her life Annika Tõnuri worked as a piano and singing teacher on a small island of Heimaey in Iceland. The song "Ich bin verliebt" from the operetta "Schön ist die Welt" by Franz Lehar is recorded in the beginning of 1990s. Annika Tõnuri is accompanied by the pianist ÜLLE REBANE.
Julius Reubke Rebane Theodor Kullak Marx Franz Liszt Peters 1834 1857 1992 1995
0:00 Opening 0:35 I. Grave - Larghetto 8:28 I. Allegro con fuoco - Grave 13:15 II. Adagio - Lento 20:45 III. Allegro - Più mosso - Allegro assai / The 94th Psalm: Sonata in C minor (1857) Julius Reubke, Composer Siiri Rebane, Organist / Julius Reubke was born on March 23, 1834, in Hausneindorf; the son of Adolf Reubke, a prominent organ-builder in Germany. He studied piano at the Berlin Conservatory with Theodor Kullak and composition with Adolf Marx. Later he went to Weimar, where he studied with Franz Liszt. Although Reubke died at the very young age of 24, his two sonatas—one in C minor for the organ, and one in B flat minor for the piano—are masterpieces of the German Romantic style. They both show a great deal of influence from Liszt. Reubke's Sonata for Organ was inspired by nine verses from Psalm 94. Michael Gailit writes in the April 1992 issue of Diapason: "For Liszt and Reubke, program music means that the work is based on something outside music (in this case a text), which inspires the musical ideas of the work. However, the progress of the work does not follow the plot, but rather depicts an absolute musical form. This does not preclude large parts, and even details, from conjuring up a picture of the text." The Sonata's sections are based on die same theme, yet it does not become tediously repetitious. The whole basic idea of the Sonata is found in the first seven measures. The main motive — semitone plus third — is characteristic of the neo-German School. Reubke's Sonata sets high technical demands on the performer, but as Walter Buszin writes in the Foreword to the Peters edition, "his music is not merely splashy and technical; in fact, its technical character is part of its substance and essence." / Performed in recital on April 24, 1995 at the Southern Baptist Theological Seminary Alumni Chapel in Louisville, KY. Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts.
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- Zeitleiste: Lyrische Sänger (Europa).
- Indizes (in alphabetischer Reihenfolge): R...